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한국음악 20세기 한국음악의 관점(7) 홍난파와 윤이상의 사회 1
홍정수 ( Jung Soo Hong ) 민족음악학회 2012 음악과 민족 Vol.44 No.-
The Japanese colonial domination and the Korean War are the two most important events of recent Korean history. They cast a long shadow on Korean culture. Even music and musicians suffered in that time. There are two composers, Hong NanPa and Yun Isang, each marking the beginning and the modernization of Western-oriented Korean music. It will examine how the two musicians were influenced by that negative social environment. This is the first part of the treatise, which will have the following last part. In 1928 the Korean music student in Tokyo, Hong NanPa took part in an anti-Japanese student movement by stopping his studies. This action was part of the Korean students independent proclamation against the Japanese colonialism. It led to a rally in the 1st march 1919 in Korea. The Korean independence was proclaimed nationwide. Hong was a young, modest participant and was not among the leading group of this movement. In 1937 he was arrested by Japanese colonial ruler as an influential musician. He was in compliance with requirements of the Japanese demand. It means, he wrote a apostate letter from the past belief in the independent Korea. After that he acted pro-Japanese and wrote praising songs to the Japanese militarism and nationalism. This thesis, based on his biography, deals with his path to the apostasy and is not intended to blame a single person such as Hong NanPa, but to the Japanese power, that destroyed not enough heroic individuals like him through violence and horror.
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홍정수 ( Hong Jung-soo ) 민족음악학회 2017 음악과 민족 Vol.0 No.54
『홍난파와 윤이상의 사회』는 전체가 3부이다. 이 부분은 마지막 제3부에 해당하는데, 앞의 제1, 제2부를 해석하고 종합한다. 난파와 윤이상의 살았던 이십세기 한국의 국가변화가 첫머리에 다뤄진다. 조선왕조 멸망 이후 나타난 대한제국, 일제강점기, 대한민국(상해임시정부), 그리고 남북 분단국이 이어지는 시대적 배경을 바탕으로 논의된다. 난파와 윤이상은 국가적 배경이 급변하는 가운데 개인이 감당하기 힘겨운 대립적 정치상황을 경험해야 했다. 그 결과 변절이라는 평가에 내몰린 삶을 살았다. 나라가 일제에 의해 점령되어 상실된 지경에서 ‘민족’ 개념이 한반도인들의 사고에서 구심점으로 등장한다. 이 개념은 20세기를 지난 오늘날까지도 그 영향력이 쇠퇴하지 않은 힘을 발휘하고 있다. 음악적 논의도 이 개념의 영향을 벗어나지 않는다. 20세기 말 무렵, 남한의 사회적 논의에서 난파는 친일파로, 윤이상은 친북파로 비판된다. 난파와 윤이상은 개인적 열정으로 서양음악을 서양에 가서 공부했다. 이는 정치와 무관한 행동이었지만, 그들은 자연발생적인 애국심도 가지고 있었다. 하지만 난파의 경우 생의 말에 일본의 압력에 굴복하고 만다. 윤이상의 경우 동베를린 사건의 정치적 고통을 경험하며 남한과 멀어진다. 그 대신 남북의 통일을 위해 북한과 협력한다. 두 음악가는 그들 각각의 변절이라는 지탄이 남한에 있음에도 불구하고 그들의 음악은 살아있다. 그들에 대한 정치적·사회적 판정과는 별개로 그들의 음악이 살아있음을 이 글은 긍정하고 좋게 평가한다. 왕조시대의 임금에 대한 충성개념을 현대적 민주국가에 사는 개인의 전체 삶에 적용시키는 과도함은 피해야 한다고 보기 때문이다. 국가나 사회의 권위에 의해 고착된 의견을 강압적으로 받아들이게 하는 것보다는 결점이 있는 개인의 자유도 긍정되는, 다양한 의견이 존재하는 사회가 바람직하다고 보기 때문이다. 이런 입장에서 이루어지는 난파와 윤이상에 대한 사회적 논의가 바람직하다는 것이 이 글의 뒷생각을 이루고 있다. The thesis “Hong NanPa and Yun Isang in Their Social Contexts” consists of three parts. This is the third part which comprehensively interprets the first and second parts. The first one deals with changes of national situation, in which Korean people had to live through. After the Joseon Dynasty was defeated, national status became at stake all the way going over several different political phases: Daehan Empire, Japanese colonial rule, Daehan Republic, and the division of Korea. And this was the social background of two composers, Hong and Yun. Under this kind of turmoil, people could somewhat easily be judged as traitors to their country just by their some words or deeds, and the two composers were also in this situation. Hong is considered as Japan friendly, Yun as North Korea friendly, being treated almost as betrayers, by the name of ‘MINJOK’(Korean compatriot) when the feeling of national homogeneity is the strongest measure to bond Korean people. Hong and Yun studied in Western countries on their own initiative spirit and passion. This had nothing to do with politics. The two composers were patriotic as much as common people. Hong, however, came to kneel under the pressure of Japan during the last years of his life. Yun suffered from a severe espionage charge and conviction, but was able to go back to Germany by the German intervention. South Korean Government maintained hostility to him and thereby he fought to acquit him of the charge. In addition, He also worked for the unification of the two Koreas collaborating with North Korea. Despite allegations of betrayal against South Korean society, the music of the two composers is still alive here. The discrepancy of politics and music in these two cases is not unfortunate. If loyalty to the state or the monarchy of the old age is left out in the modern democracy, the loyalty which is formed in modern civil society should not be exercised in totalitarian way. The idea of a society in which different and even faulty assertions and actions of individual people co-exist should not be kept just as a dream for the better future.
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한국음악 20세기(19): 한국음악의 관점(10) : 윤이상의 음악미학 또는 도교와 드뷔시
홍정수 ( Jung Soo Hong ) 민족음악학회 2016 음악과 민족 Vol.51 No.-
The composer Isang Yun explains most of his works in terms of Taoism, which reflects East-Asian mindset. His Taoistic intention is attested in his writings since 1958. In this year in Darmstadt he met European avant-garde music (Serialism and Chance music) and made a complete turnaround. He abandoned Europe-centered techniques turning to the East-Asian music and thinking. But turning to this direction was in fact as a matter of time in that he wanted to compose Westernized Korean work from his early time in Korea. To be Koreanized, his Taoistic method is paired with ornamentations of ancient Korean court music. His Taoistic works sound sonorous mysticism. Yun’s Taoistic explanation of the cosmos increases the aura of mysticism of his music which was composed in a free way upon it. The music of Isang Yun was strongly influenced from Claude Debussy also, especially in these two points: 1) The strong eliciting of inexplicable mood; 2) The ornamentation, often called “arabesque”, always remains undefined and vague. Of course Isang Yun’s compositional techniques themselves, based on Korean ornamentation, atonality and ‘sound music’, have nothing to do with Debussy’s music. What``s in common between them is far from specific theoretical systems, and reflective of particular effects: Indefinite, inexplicable, vague and mysterious. Thus, Taoism was Yun’s Instrument for explanation, and Debussy’s music was the prototype of sound for his composition.
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